Dance Books

I never really watched The Twilight Zone all that much. However, I stumbled on an episode called "Black leather Jackets" on YouTube. I enjoyed the episode so much I wanted to learn everything I could about it. And this book definitely helped me do that! I would definitely recommend this book to everyone from Rod Serling neophytes to seasoned experts on that "other dimension!"

Earl Hamner Jr wrote some of the finest Twilight Zone scripts aired on TV. This book is simply a sample of his greatest work in script form. It is a book meant for those who want to see how the original script read. I am one of those people. I personally believe the TWILIGHT ZONE is one of the most imaginitive shows ever developed for Television, and any time I can get the scripts in written form will be a treasure.
If you are a fan of the Twilight Zone, you will enjoy this treasure this book has to offer. Since I am an avid fan, this book comes as a wonderful asset to my collection.
I would like to see EVERY TZ story written for fans to read. As for now, we have these treasures to enjoy along with some written by Rod Serling himself and others.
I hope to see more books like this one that are written for avid viewers of the original Twilight Zone like myself.

Having read and/or casually perused more than thirty so-called 'TV script books', I can easily say that this new book is one of the best. As has been mentioned, Earl Hamner was among the forgotten writers of "The Twilight Zone" (Montgomery Pittman, Hamner, Jerry Sohl, plus a handful of others who wrote only one or two segments). His contribution to the series numbers only eight episodes, but two of these are surely among the most memorable in the entire series ("Jess-Belle", "Stopover in a Quiet Town").

At this juncture, three other volumes of "Twilight Zone"
scripts are available to us, including those of Richard
Matheson and George Clayton Johnson. Rod Serling's scripts
have not as yet been published, nor have those of
Charles Beaumont. The two "Twilight Zone Scripts" volumes containing the scripts of Matheson, released in 2001 and 2002, as well as the "Twilight Zone Scripts and Stories" of Johnson were somewhat of a disappointment. Not the scripts themselves, but the way in which they were presented.
Those of Matheson were edited (if you can call it that)
by Stanley Wiater. But really, Wiater did little more than re-state what has already been said elsewhere about Matheson's
episodes. Here and there, a new tidbit from Matheson himself is added into the commentary, nothing too special. No interviews with actors from Matheson's episodes were done,
nor is there any special insight into the material. Johnson's
volume (now out of print) is welcome, but slim and altogether lacking commentary.

So, it is with "The Twilight Zone Scripts of Hamner" that we get what we were after. The scripts are preceded by thoughtful, thorough, and occasionally critical commentary by Albarella that matches or surpasses the level of Marc Zicree's in "The Twilight Zone Companion". Albarella obviously went to great lengths to get anecdotes from stars of Hamner episodes including such luminaries whose voices we don't hear often: Anne Francis, James Best, Barry Morse, plus lesser-known actors Nancy Malone, Kevin Hagen, and Michael Forest. Of course, background as to the genesis of each story is detailed with comments from Hamner himself. The commentaries are welcome in more ways than one; after all, haven't fans been reading and taking to heart the critiques of "The Companion" for the last 21 years? Time for some new blood in the pool.

Also included is a section of production and publicity photos from each episode, as well as recent shots taken in 2002 at the "Stars of the Zone" Convention (the first convention
for "Twilight Zone") of several actors appearing in Hamner's episodes. Unfortunately the quality of many of these shots is only marginal.

As the ardent fan of the original series knows, Hamner occupied an oddly interesting place amongst the core of writers from the series. Serling focused on bespectacled bank clerks and high-paid businessmen suffering from ulcers who craved serenity in another time period. Matheson usually focused on realism and the writing is often extremely despondent and horrific. Beaumont gave us the extraordinary. Hamner's 'dissertation for Twilight Zone' compares and contrasts country folk ("The Hunt", "Jess-Belle") with city folk ("You Drive", "Stopover in a Quiet Town", "Black Leather Jackets", "The Bewitchin' Pool"). Two fantasy stories, "Ring a Ding Girl" and "A Piano in the House" round things out nicely. Needless to say, the eight shows by Hamner generate a great deal of interest,
if for no other reason that they examine a number of interesting
ideas. Luckily, the ideas are now in print!

Hopefully the future will see the release of the scripts of
Serling; while you wait for that book, this is the book to read.

Earl Hamner is truly the "lost" writer of the Twilight Zone. Author of eight scripts for the original series, making him fourth in terms of production (behind Rod Serling, Charles Beaumont, and Richard Matheson, in that order), he has nonetheless failed to achieve a major reputation in the world of Twilight Zone fans. Part of this may be due to the fact that Marc Scott Zicree all but ignored Hamner's contributions in his seminal analysis of the series, "The Twilight Zone Companion"; another likely factor is that Hamner later made his reputation with "The Waltons," about as un-Twilight Zoneish a TV program as it is possible to imagine.

But this wonderful collection makes it clear that, though not on the level of the "big three," Hamner was an important writer for the series, bringing a down-home rural sensibility to a program which was more often urban and contemporary in focus. Several of his works published here, including "Jess-Belle," "The Hunt," and "Stopover in a Quiet Town," deserve to rank highly in any overall assessment of the series. All are classics, and have stood the test of time.

It must be admitted, however, that this handsomely-produced volume also points up Hamner's limitations as a Twilight Zone writer. Some of the scripts, such as "A Piano in the House," are merely mediocre. But some are truly ghastly--none more so than "Black Leather Jackets," a notorious stink-bomb of an episode from the final season (featuring, and I am not making this up, beatnik bikers from outer space!). Incredibly--almost unbelievably--the original script as published in this collection is even worse than the transcendentally-terrible episode as aired, with even more absurd dialogue and ludicrous plot develoments.

But in truth, for the devoted Twilight Zone fan, even the bad scripts and episodes have their value--if only to point up the wild contrast with the show's established classics. At its worst, as in "Black Leather Jackets," Twilight Zone still remained enormously enjoyable television, and reading the weakest scripts contained in this book is still fun. It is worth noting, too, that in at least one case, a Hamner episode generally dismissed as a failure as produced is revealed to have been simply a victim of poor acting and directing. "The Bewitchin' Pool," Twilight Zone's final program, is never more than intermittently interesting on screen, but the script is a lovely effort, beautifully written and paced.

Finally, a word of commendation is due Tony Albarella for his superb commentaries on each of Hamner's efforts. These essays are surely the most complete analyses of any Twilight Zone works since Marc Scott Zicree, and Albarella's keen insights offer a necessary corrective to Zicree's often overzealous and dismissive criticisms. The writer also offers original interview material with many of the actors from Hamner's episodes, making this book not only a testament to Hamner's talents but also a celebration of the program itself. A generous photo section (unusual in books of this type) adds to the nostalgic glow of this volume.

In all, a wonderful contribution to the literature of the Twilight Zone. What a pleasure to see Earl Hamner, the "lost" Twilight Zone writer, once again found!

Oh the American celebrities - why does no one take them seriously? They have so many opinions that they want to share with us, so many enlightening thoughts, but every time they open their mouths the common people turn away in disgust. Just what is going on? Well, read this book and find out.

This hilarious book is filled with goofy quotes and silly anecdotes. Hear the words of wisdom of Drew Barrymore, Sharon Stone, Britney Spears, Tom Cruise, Tommy Lee, among many, and be amazed! Why do we follow their every move? It must be for the comedy value! Get this book and learn the truth about America's glitterati!

I read this book while stuck on a train that was delayed for hours. It was so really ENTERTAINING that the time flew by!

I can tell you that I will never, ever look at any "star" with the same sense of admiration. Sometimes behind the sparkling image there is absolutely nothing of any value. Combine those empty-heads with a super-sized false sense of entitlement and a BIG MOUTH, and you've got the mega-laughs of Kathryn & Ross Petras' wonderful book!

This book was one of the more entertaining ones I've read. I was in suspense most the time and laughed until my stomach hurt. Great writers and great info. I reccomend this book to all who enjoy celebrity gossip and stories.

If you ever wondered what your favorite celebrities are like in "real life", you've GOT to read this book. Mostly, you will find yourself laughing out loud but be warned some of the quotes in Unusually Stupid Celebrities are so shockingly stupid, they may bring you to tears. All in all, this book is great, light-reading fun! I highly recommend it. Kathryn and Ross Petras have once again produced a well-written, hilarious, winner! (Take this one to the beach.)

Put a great voice to use as a voiceover actor in VOICEOVERS, a survey of opportunities in everything from network promos and documentaries to books on tape, radio, and animated films. A CD-ROM holds vocal exercises and interviews with voiceover actors, while tips for building strong demos rounds out an excellent survey. Other books don't go nearly as far: if only one on the topic were to be chosen for a business library, it should be VOICEOVERS: TECHNIQUES AND TACTICS FOR SUCCESS.

Diane C. Donovan
California Bookwatch

If you've heard all your life "you have such a great voice, you should be doing voiceovers," but written off the idea because A. you don't live in California, B. you don't live in New York, C. you haven't got a clue how to get started, Janet Wilcox has written the book for you!

Expert, practical, and complete, Wilcox leads you through what it takes to go from cocktail-party compliment to working professionalism, including lessons, classes, coaches, renting facilities, setting up a studio, and creating not just a demo, but the best demo you can. She explains the always-fascinating problem of getting an agent and assures you that if you ARE good enough, professional enough, and persistent enough, you will find one.

Perhaps the most noticeable aspect of VOICEOVERS for this reviewer, who has been told she has a great voice and has actually had a lead in one TV commercial, is that its conversational writing is so appealing that you are convinced to embark on the process of becoming a "voice actor" despite how much work it entails. Exercises and contact numbers are provided, along with a CD, making the book a great workbook as well as an inspiration.

What distinguishes the "voice actor" from the "good voice"? According to Wilcox, the ability to create character and explain "who, what, when, where, and why?" in the matter of seconds.

A handbook for beginners and a guide along the way for working professionals by an extremely expert and experienced "voice actor," VOICEOVERS: TECHNIQUES AND TACTICS FOR SUCCESS is also a fascinating read for audiences who wonder how the people you hear got the jobs they did.

As an actor seeking work in the voice-over business, you have two choices. The first is to spend several years trying to figure it all out. The second is to accept the experience of someone who has been successfully working in the field for a long time.

There are just too many mistakes and misconceptions that can hold an actor back in an audition and later in a session. If you want to get work doing voice-overs, then read VOICEOVERS.

Ms. Wilcox knows the terrain and all the land mines and all the tricks. I highly recommend the book.

Allen Blumberg

Janet has managed to do the impossible - create a book that guides, informs and encourages newcomers and voice-over pro's alike.

With a witty, and conversational writing style and clever analogies to sports and games, Janet manages to make the pragmatic process of polishing your voice style and delivery - the real work - fun. Plus, she generously shares real-world career advice learned over many years as working voiceover professional. This is a wonderful - and practical - new book from an accomplished performer and teacher.

Memorable interviews with the most affable interviewer. A lovely way to spend some time.

Even today, when celebrity revelations droppeth like the gentle rain, Studs Terkel stands head and shoulders above other interviewers. He had a knack. He could get people to say things they hadn't planned on saying. Terkel knew precisely what to ask, and how to ask it. Those are my words - the Chicago Sun Times said it better:

"Studs Terkel (gets) people to say things in such a way that you know at once they have finally said their truth, and said it better than they ever believed they could say it."

Trained as a lawyer, experienced as an actor, and a best-selling author, Terkel spent half a century on his Chicago based Peabody Award winning syndicated radio program. He brought together people from all walks of life, artists, writers, philosophers, inventors, and visited with each of them as they recounted their triumphs and failures.

Now, 48 of these original interviews have been gathered for our enjoyment - it's a treat to hear the stories of those who influenced our world in their own voices. We hear R. Buckminster Fuller, Woody Allen, Gore Vidal, Eudora Welty, Dorothy Parker, Bertrand Russell, Leonard Bernstein, and a host of others.

Exemplary listening pleasure!

- Gail Cooke

Studs Turkel is a wonderful interviewer, and over the past five decades he has interviewed many of the great thinkers, writers, and doers of our time. The ones he chose for this collection include Aaron Copland, Oliver Sacks, Margaret Mead, Daniel Ellsberg, Maya Angelou, Pete Seeger, John Kenneth Galbraith, and dozens of others. All together, they provide a fascinating portrait of the last half of 20th century. Highly recommended!

Having grown up in Chicago and spent a chunk of my adult life there as well, perhaps the thing I miss most is Studs Terkel and WFMT, the best
FM station in the country. I learned as much about life and the never-ending struggle for human rights from Studs' interviews as I did from any
professor or priest. Hearing these wonderful chunks of those conversations again fills me with nostalgia and recharges my batteries for my own twilight struggle against the world's ills.

'Waiting For The Mountain To Move' is full of interesting and thought provoking. It is written in an easy to read format.

Jill Weeks
Author 'Where To Retire In Australia'

One of the easier to read books by Handy. Contains many interesting ideas presented in a easy to read and understand manner. Excellent.

I can't say enough about Charles Handy's many books, and this little gem is absolutely thrilling. Comprised of 65 stories of about 500 words each, Handy's eloquent style and a non-proselytized collection of Christian anecdotes make each story a beautiful experience. Core values with a deep, profound essence of faith. I hope more Americans become familiar with his tremendous work.

An excellent book to make you stop and think about the realities of work and life. Prof. Handy has put some very valuable truths in the short essays in the book. Some of the essays touch on spiritual issues and I endorse the truths he mentions! The essays are short and you could read them at the start of a long commute and ponder over the thoughts during the journey. Or are we do too busy to do that even? For those you have read Prof. Handy's other books, don't miss this one!

The great risk in doing a book like "Watching TV," which both takes television history seriously and has fun with it, is that it may prove to be neither fish nor fowl -- too scholarly for those that want mere nostalgia, and with too much affection for its subject to please those who just want the facts.

Happily, "Watching TV" avoids this pitfall. In the end, the book leans more to the scholarly side than the trivial, but given the vital role the medium plays in our society, the balance feels right.

In this second edition of their 1982 book, Harry Castleman and Wally Podrazik take us up to the 2002-03 season, covering, in the updated material: NBC's return to respectability; cable's steady march to power, the emergence of Fox, the WB and UPN's debuts as broadcast networks, the regulatory shift that has concentrated ownership in a way not seen in decades; the beginnings of the reality show phenomenon, the launch of new technology that promises to change the medium forever, and more.

One of the remarkable aspects of the book remains its refusal to traffic in simple answers. If you're sure that Castleman and Podrazik are making a quick, easy generalization, keep reading: You'll soon see that they will articulate the issue's complexity.

The easiest temptation for two Baby Boomer authors would have been to write a lament for "the good old days" of television. But Castleman and Podrazik point out the good and the bad in every season, in artistic, commercial and social terms.

The season-by-season structure has several advantages. One is that you get the sense, moreso than in any other book about TV history, of how the networks have competed with one another. While it's fun to look at the various fall schedules, the text in each chapter often explains why certain shows were placed into certain slots, how another network sought to counterprogram that same slot, and the results of such moves.

ABC, which for many years was a perennial third-place finisher during the three-network days, is worth keeping an eye on throughout the book, because its desperation to get out of last place made it willing to take bold chances. We learn, for instance why CBS programming head James Aubrey was fired during the 1964-65 season, following some scheduling tactics by ABC that threatened the Tiffany Network's prime time supremacy (and set the precedent for a practice that is only now beginning to fade). And because the book is chronological, you already know from the previous chapter how ABC planted the seeds for its near-upset. If I'm making all of this sound like boring corporate infighting that no one could possibly care about today, that isn't the way it's presented in the book. The shows from that season are discussed in fun detail, but the added context of how the networks used them gives the book heft.

Another fascinating network vs. network storyline again involves ABC, this time concerning its challenge to the No. 1 spot in the 1975-76 season. Castleman and Podrazik explain how CBS' momentum was stopped by the new "family hour" that was mandated by the FCC (8-9 p.m.), as it allowed its program development to be hamstrung by the rule. ABC chief Fred Silverman recognized the opportunity and seized it, utilizing "Happy Days," "Welcome Back Kotter" and other now-fondly remembered shows to steer the network to ratings success. The authors have put themselves in a good position to sustain the drama inherent in Silverman's maneuverings, having explained ABC's self-sabotage in previous seasons. The '75-'76 chapter essentially ends on a cliffhanger, as Silverman is poised to take the lead, but hasn't quite gotten there. ABC does finish No. 1 in 1976-77, and Castleman and Podrazik know how to make that chapter pay off.

Another thing that works about the season-by-season approach is that the authors revisit shows and events along different points on a timeline. It's one thing to have a book that explains in a few paragraphs that "Gunsmoke" debuted in 1955 as a half-hour show, moved to an hour in 1961, was almost canceled in 1967, but was saved and became a big hit again. But in "Watching TV," you get a real sense of how different an atmosphere the show thrived in during its early years was from the one it basked in later.

Make no mistake, though, the book can be very funny. My personal favorite example of this is the authors' description of "Gilligan's Island." I won't spoil it here, but suffice it to say that Castleman and Podrazik have more than a few problems with the tale of those seven stranded castaways. As always, they put the show in full context, pointing out other escapist sitcoms that appeared around the same time.

The second edition of "Watching TV" is a very worthwhile purchase for devoted buffs who care about the past, present, and future of our most important medium.

This is the real deal.
While reading it my life flashed before me. Its graphic depiction of every TV season , going all the way back to 1944,
brought back a torrent of memories.
Nothing has been left out. Watching TV is best book written about this medium. A medium that touches each an every one of us.
If you love television you'll love this book.

Unlike most of the TV reference books, this is a season-by-season narrative of the history of television. One can pick up the book and turn to any chapter and, even if one is too young to remember that particular TV season, get the flavor of the events of that season and the major programs and trends. A good, informative read, with an objective, down-the-middle viewpoint.

The long-awaited update of this classic is finally here!

Castleman and Podrazik's original "Watching TV" is a meticulously researched, wittily-written history of the medium from 1940 to 1980. Filled with insider tidbits, network schedules and classic photos, it's a tv trivia buff's dream come true. The new, updated book is even better!

A definite must for the tv room coffee table.

I started buying products in Amazon this year and i'm very satisfied with your service. It's easier and cheaper than our products here in Portugal. I'll be back soon on amazon!

Lázaro Silva

São Mateus, Terceira Island
Azores, Portugal

i am writing this for the benefit of non US readers especially those from my country india which makes 900 films every year.i am in the process of writing a book on screenplay in my native language Telugu and i have been devouring every book that's available.I was thrilled to read about the 'belatedness' Bordwell describes as i share the same dilemma.his summing up of the film writing & film making arts is very usefully informative and inspiring,too.Tollywood( Telugu film industry) churns out around 200 films every year,but nobody here treats screenwriting as something one could learn, and excell if one had the creative talent.I am glad Mr.Bordwell applauds the value of screenwriting books in helping keep the narrative standards from falling.wish guys from my film industry read this book.

David Bordwell is one of the most widely read film scholars around, and not without reason: he writes with ease and ellegance, his insights are often deep and almost always relevant, his starting points are usually essential for better understanding cinematic art. Is he always right?
Of course not, he is not a religious profet or Jacques Lacan (Oops!).

However he usually describes the area of his study quite well, cites references and data he would like you to check in order to see whether he is right and, well, does serious scholarly work. Not a small achievent in a fastly globalizing (and fastly "mcdonaldsizing") academic community of cultural gurus who know everything about everything... Therefore, when you disagree with him (as I sometimes do), you usually know what your are disagreeing about and why.

This book is another Bordwell's insightful contribution to the study of American and global cinema (styles in cinema are basically more international/global than in literature; probably less than in classical music or jazz), explaining how contemporary cinema develops from older stylistical patterns. From the era of silent movies or Slavko Vorkapic's experiments for Frank Capra to modern-era (greatly digitalized) blockbusters, Hollywood's manners and procedures of telling a story can be compared with quite a fruitfull result.
Ofcourse, simple description of stylistic trend or procedure does not directly serve as a proof of aesthetic value, but the subject of this book is, basically, style, not aesthetic value or anything else that can be connected to (and is intertwined on many levels with) style.
This book is equally useful for scholars, teachers and (thanks to his nice style and clear argumentation) students of cinema and all other educated art lovers.

Like the author's other works, this is a highly meticulous and empirical study of the way contemporary Hollywood films function. Paying close attention to selected films by intensive frame analysis, Bordwell calls into question many contemporary "sibboleths" concerning the status of "post-Hollywood" which he reveals as having more connections with its classical counterpart than most critics believe. His attention to fine detail and references to "American Cinematographer" and screenwriting manuals reveal that he has really done his homework. He challenges his contemporaries to do likewise before they engage in problematic "post" judgements whether they be on the realm of postmodernism, post-colonialism, and post- anything which may become academic equivalents of those formerly fashionable platform shoes or flared trousers that often date episodes of the 1970s British cop series THE SWEENEY.

The references to contemporary Hong Kong cinema and analysis of films such as Johnny To's A HERO NEVER DIES are also valuable components of this book. Like DRAGNET's Sergeant Joe Friday, Bordwell insists that we supply facts based on viewing the evidence ourselves. We should not ignore important empirical aspects before we begin to make meanings that may eventually prove to be non-substantial. Those who choose to avoid the well-researched findings of this book should be issued with speeding tickets and forced to attend a scholarly version of "community service" or "boot camp" involving the detailed viewings of as many films as possible, reading interviews with film directors, and studying important journals such as AMERICAN CINEMATOGRAPHER. This is equally important for those newly converted "film experts" in English Departments of postmodernist persuasion who recently discover Laura Mulvey's 1975 essay on "Visual Pleasure and Narrative Cinema" and regard it as a "gospel" truth which remains unaltered today! These feelings are more akin to non-linguistic theological studies and not the highly textual, linguistic based explorations of biblical and near eastern studies that relay on studies in pre-semitic studies, Canaanite, Aramaic, and Arabic studies to reveal key empirical structures influencing "holy writ."

This is another indispensable work by an important scholar that every serious professor and student should learn from even if it only involves better interpretation and a more professional "making of meaning."

Ed Watz' thoroughly researched and well-written book on the films of Wheeler and Woolsey deserves the highest praise. He approaches their career by examining their work on a film-by-film basis, providing very complete cast and credit information, production history, as well as biographical information on the two comedians. The book also includes a nice forward by their frequent co-star Dorothy Lee, who worked with the team since the 20s. Lee, who died in 1999, shares many memories of working with the comedians, and gives valuable insight into the making of these films.

Highly recommended for students and fans of stage and screen comedy.

This "sleeper" book, which I picked up because of my curiosity about the subjects (they are appearing regularly on the Turner Classic Movies station) is a revelation. Positively one of the best researched and entertaining books about a comedy team from the movies' golden age, the 1930s. To watch Wheeler & Woolsey is to understand what vaudeville-type comedy is (was) all about. Bert Wheeler and Robert Woolsey have been overlooked in favor of teams like the Marx Bros. or the 3 Stooges. This book corrects that oversight. It is also a highly readable accounts of Hollywood politics behind the scenes at some of the major studios. If you're a fan of vintage movie comedy, get this book.

Wheeler and Woolsey were second to Laurel and Hardy in the heart's of movie going audiences of the 1930's. Since then, however, their star has faded and their acomplishments have been relegated to footnote status in the history of the golden age of comedy. Thanks to Edward Watz, Bert Wheeler and Robert Woolsey are alive and kicking again in a definitive history of the lovable pair and their films. Exhaustingly researched and lovingly executed, the book chronicles the career ups and downs of the most unjustifiably forgotten comedians in the history of show business. Personal biographies are included, as well as detailed accounts of all of their features and short subjects. Long time leading lady Dorothy Lee lends her first hand account of the way things happend with a refreshingly candid foreward. She also shares her memories of each of the films that she participated in with a fascinating view that only an insider could relate. The later years are chronicled in the final chapter, featuring accounts of Bert Wheeler's career after the untimely death of his partner. All in all, this book ranks along side the superlative Laurel and Hardy, The Magic Behind The Movies, and Abbott and Costello in Hollywood, as one of the most enjoyable and informative demonstration's of film history as can be expected. If you love film comedy, you should not be without this book.

I love this book! To my knowledge, the only book around about Wheeler and Whoolsey. It made me eager to see more of their films. The author did a great job of research, which couldn't have been easy considering how long ago these comedians were active.

Ed Watz's book 'Wheeler & Woolsey' is a superb film history of a great and sadly forgotten movie comedy team. This volume evokes the golden days of both Vaudeville and Hollywood, as we follow the rise and sad fall of Wheeler & Woolsey. Mr. Watz also sets straight the historical record in that the boys were second only to the great Laurel & Hardy in the 1930's and certainly ahead of their rivals the Marx Bros., the Ritz Bros., and the Three Stooges! Readers of this book will want to go out and see the films of Wheeler & Woolsey. Watz's book is a lost treasure.

"Whodunit - You Decide!" is a book of twelve mini-mysteries in a court room setting. The book is divided into four sections: An opening statement which explains how the book works; the court cases themselves which are short stories; jury deliberations (arranged alphabetically by story); and the verdicts (again arranged alphabetically by story). At the end of each story is a section called "Trial Witnesses and Evidence" which consists of five different pieces of evidence for each puzzle. Listed at the top of this section is a notation saying how many clues are needed to solve the puzzle. After reading each puzzle, the evidence section, and jury deliberation section readers are to decide whether the defendant is guilty or not guilty.

Although there are only twelve mini-mysteries in "Whodunit - You Decide!" each puzzle is complex and challenging enough to keep you busy for hours. The courtroom setting is a unique idea and a great way of giving readers just enough clues to help solve the mysteries. The puzzles range from easy to difficult and extremely clever. The easiest puzzles are "Our Man in the Field", "The Haunted House Murder", "The Lady in the Dumbwaiter" and "Will-O'-The-Wisp". "Death and the Single Girl" is easy but extremely clever while "Trial of the Black Widow" is a puzzle that has been done in various forms in mini-mysteries which makes it very easy to solve for long-time fans of mini-mysteries. "A Witless Eyewitness" and "No Brake for the Wearys" are tough and very clever puzzles. "The Vanishing Verrocchio" is also very clever with some nicely placed clues. "One Strike You're Out" is also very clever but relies too much on coincidence. Only two of the puzzles didn't work for me: "The Hot Designer" was not very believable and "A Family Feud" was an odd puzzle. I really liked the fact that the jury deliberation and verdict sections are arranged alphabetically by story which makes it impossible to accidentally see the clues or solutions to the puzzles following the one you are working on.

"Whodunit - You Decide!" is an excellent book of mini-mysteries.

The problem with the trial format is that it makes the book predictable plotwise: person A is always innocent, and a person B always has some crazy plan to frame person A. However, the crimes are just as challenging as the last edition. This work is still a far cry from a half-baked whodunit, where a case is "solved" when a suspect blurts out a lie. It's got me hooked and I'm 21, which is quite an achievement.
"The Haunted House murder" is the best case in this book.

This book is a sequel to "Almost Perfect Crimes : Mini-Mysteries for You to Solve". Once again you'll need to fire up all of your little gray cells to solve this new set of 12 clever whodunits! Note that some of the puzzles in this book have also appeared in a slightly altered form at "The Case" website. Buyer beware!

Instead of mindlessly watching TV tonight, why not try a Whodunit mystery? These mysteries are fun and challenging -- think Encyclopedia Brown for an older crowd. Each one has clever twists and it's great fun to exercise your power of deduction.

Each mystery is set up like a court case where the reader puts herself in the shoes of a juror. The general information about the case is given, followed by a set of clues (you don't need all of the clues to figure them out), and the answers are given in the back of the book.

This book would be great on a long road trip, or as an alternative to the mundanity of watching television. I'd recommend it to parents of teenagers, or anyone who wants to sink his teeth into a mystery.

This is a charming little book which is lovely in its presentation and soothing in its lyrical vignettes. It makes an excellent gift for someone who lives outside the frenetic energy of suburbia... or for those who wish they did....

Read this from our library then had to buy 2 to have - one for a gift, one to keep. Like it so much have given both as gifts! Each chapter is a gem, a story of woman in nature with the meaning of the interaction subtly displayed but left up to the reader to interpret for her own life.

Even better than the author's Animals as Guides for the Soul, this is an elegant little book to savor and to come back to. The insights drawn from the author's observations of the nature around her and of her life give meaning to the seasons of the year and the seasons of life. Buy one for youself and one for a friend.

WHY BUFFALO DANCE: ANIMAL AND WILDERNESS MEDITATIONS THROUGH THE SEASONS offers a lovely set of nature appreciations musing on everything from the lessons of eagles in 'The Right Timing' to a Spring celebration in 'The True Nature of Things'. These aren't the one-line meditations you've come to anticipate in such celebrations of life, but thought-provoking essays linking observations of nature with seasonal inspiration.

Diane C. Donovan
California Bookwatch